Iñárritu on Sueño Perro: an anti-AI installation from Amores Perros

Alejandro González Iñárritu has returned to hundreds of hours of unused material from his 2000 debut Amores Perros to create Sueño Perro, a film installation he describes as both “light sculptures” and a “dream.” He sifted through 1m ft of archived celluloid over a seven-year process to rescue fragments that never made the finished two-hour-34-minute movie.

He traces his narrative instincts to his father, “a great storyteller” who would start near the end and circle back, and cites the Latin American Boom and films such as Rashômon as shaping his view that truth is personal while reality is complex. Working with fragments allowed him to present memory-like flickers and moments rather than a single coherent plot.

The installation purposely uses real film and projectors, filling a small space with smoke, light and the sounds of Mexico City so the images can exist outside conventional storytelling.

Mexico, Mexico City

iñárritu, sueño perro, amores perros, film installation, celluloid, projectors, light sculptures, memory fragments, mexico city, rashômon